: Companion to the

edited by Joseph Herl, Peter C. Reske, and Jon D. Vieker

Quick facts

 2,624 pages in two volumes  127 contributing authors  680 biographies, 638 essays, 17 historical and topical essays  3,295 explanatory and source footnotes  2,813 texts, translations, tunes, and settings examined from 1,527 unique primary sources  308 libraries contributed primary sources  564 changed attributions

 published in December 2019 by Concordia Publishing House  biographies separate from hymn essays  hymn essays divided into sections for the general reader and for specialists  theological commentary for each hymn  all essays signed with authors’ names

Significant kinds of information included

 earliest sources of each text, translation, tune, and harmonization, with page numbers  date and place of origin for each text and tune  historical category of each text and tune  religious confession of each text  textual changes in LSB from earliest source  references to prose translations of foreign-language texts into English  references to editions of texts and tunes, commentaries, and other companions  original genre of tunes (hymn, folk song, choral music, etc.)  origin of tune names  statistical bar charts on origins of texts and tunes  alternate forms of first lines and tune names  performance suggestions, with tempos from 4 sources, plus composers’ tempos when available  pronunciation of the names of recent Lutheran authors and composers  indexes of individuals by year and by day of birth and death (anniversary index)  list of core hymns for each grade in school  library location of each primary source we consulted

Significant changes in attributions (selected)

 Alabaré (LSB 799–800) — the text and tune are anonymous; Manuel José Alonso and José Pagán recorded the song, but did not compose it  All mankind fell in Adam’s fall (LSB 562) —the text is mostly by , not

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 Away in a manger (LSB 364–65) — the text is not from an 1885 Lutheran source, but from an 1884 Universalist source  “Come, follow Me,” the Savior spake (LSB 688) — the tune Machs mit mir, Gott is by , not Bartholomäus Gesius  Come unto Me, ye weary (LSB 684) — tune Anthes is by J. A. Anthes, not F. K. Anthes  Come, you faithful, raise the strain (LSB 487) — the tune Gaudeamus pariter is not by Johann Horn, but is anonymous  God loved the world, so that He gave (LSB 571) — the text is by Johann Olearius  Joy to the world, the Lord is come (LSB 387) — the tune Antioch is not by Handel, but is anonymous  Let our gladness banish sadness (LSB 371) — the text is not by Juraj Tranovský, but is anonymous; the translation is by Laura M. Underwood and Vincent Písek  Let us all with gladsome voice (LSB 390) — the text is by Urban Langhans  Lift high the cross (LSB 837) — this is not Michael R. Newbolt’s revision of George W. Kitchin’s text; rather, Kitchin wrote the refrain and stanza 6, and Newbolt wrote stanzas 1–5  Lord Jesus, think on me (LSB 610) — this is not a translation from Synesius of Cyrene, but an original text by Allen W. Chatfield  Lord of all nations, grant me grace (LSB 844) — the tune Angelus is by J. G. Braun, not Georg Joseph  Lord of our life and God of our salvation (LSB 659) — this is not a translation from Matthäus Apelles von Löwenstern, but an original text by Philip Pusey  O Jesus so sweet, O Jesus so mild (LSB 546) — the text is not by Valentin Thilo, but is anonymous  On Christ’s ascension I now build (LSB 492) — the text is by Ernst Sonnemann, not Josua Wegelin  Once He came in blessing (LSB 333) — the text is not by Johann Horn and the tune is not by Michael Weisse: both are anonymous  Savior, like a shepherd lead us (LSB 711) — the text is probably by Henry Francis Lyte  Sing, my tongue, the glorious battle (LSB 454) — the translation is by Percy Dearmer, not J. M. Neale  Stars of the morning, so gloriously bright (LSB 520) — this is not a translation of a Greek hymn, but an original text by John Mason Neale  The angel Gabriel from heaven came (LSB 356) — this is not a paraphrase of a Basque hymn, but an original text by Sabine Baring-Gould  What is the world to me (LSB 730) — the text is by , not G. M. Pfefferkorn

Significant items in hymn essays (selected)

 A mighty fortress is our God (LSB 656–67) — interpretation of obscure German text phrases; development of the equal-note version of the tune  A multitude comes (LSB 510) — summary of research on the tune Der mange skal komme  Alabaré (LSB 799–800) — history of the text  All glory be to God alone (LSB 948) — evaluates the contested attribution of the text to  All you works of God, bless the Lord (LSB 930) — traces the development of the tune Linstead  Beautiful Savior, King of creation (LSB 537) — history of the text  Christ has arisen, alleluia (LSB 466) — summary of research on the tune Mfurahini haleluya  Christ is the world’s Redeemer (LSB 539) — summary of research on the attribution to Columba  Christ the Lord is risen today (LSB 469) — summary of research on the tune Orientis partibus  Creator of the stars of night (LSB 351) — publication history of Neale and Helmore’s Hymnal Noted  For all the faithful women (LSB 855) — history of the tune Kuortane

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 From God can nothing move me (LSB 713) — relationship of tune variants to each other  Glorious things of You are spoken (LSB 648) — history of the tune Austria  Go tell it on the mountain (LSB 388) — summary of research on the history of the text and tune  Guide me, O Thou great Redeemer (LSB 918) — presents the newly discovered original source of the tune Cwm Rhondda  Hail to the Lord’s anointed (LSB 398) — early history of the text and its sources  How great Thou art (LSB 801) — history of the text and translation; evidence that the Russian version was translated from Swedish and not from German; early history of the tune  I bind unto myself today (LSB 604) — history of the text and translation  I lie, O Lord, within Your care (LSB 885) — LSB rather than Herman Stuempfle’s 2006 collection appears to contain the definitive text  If God Himself be for me (LSB 724) — history of the tune Ist Gott für mich  Infant holy, infant lowly (LSB 393) — identification of the earliest source of text and tune  Joy to the world, the Lord is come (LSB 387) — new evidence concerning early tune sources  Lift every voice and sing (LSB 964) — presents a previously unidentified source from 1900  Lo, how a rose e’er blooming (LSB 359) — Catholic versus Lutheran versions; the perpetual virginity of Mary in Lutheran sources  May God bestow on us His grace (LSB 823) — summary of research on the tune’s origin  Now thank we all our God (LSB 895) — concludes that the traditional ascription of the tune to Johann Crüger is correct  Now, my tongue, the mystery telling (LSB 630) — discussion of the authorship of Thomas Aquinas  O come, all ye faithful (LSB 379) — possible political message in the text; tune’s connection to a French chanson  O come, O come, Emmanuel (LSB 357) — history of the tune  O little flock, fear not the foe (LSB 666) — summary of research on authorship of the text  On Christmas night all Christians sing (LSB 377) — Catholic background of the text  Precious Lord, take my hand (LSB 739) — history of the tune  Prepare the royal highway (LSB 343) — origin of text and early sources of tune  Silent night, holy night (LSB 363) — history of the text, including an alternate German version used in the Missouri Synod  Son of God, eternal Savior (LSB 842) — several historical variants of the tune In Babilone are presented  Thee we adore, O hidden Savior (LSB 640) — discussion of the authorship of Thomas Aquinas and of neo-Gallican chant tunes  There is a balm in Gilead (LSB 749) — discussion of precursors to and variants of the text  Thy strong word did cleave the darkness (LSB 578) — history of the various versions of the text  Wake, awake, for night is flying (LSB 516) — origin of the terms “king” and “queen” of for the two hymns by  When I behold Jesus Christ (LSB 542) — background of the text and tune  When in the hour of deepest need (LSB 615) — summary of research on the text  Your hand, O Lord, in days of old (LSB 846) — several historical variants and models of the tune Kingsfold are presented

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Significant biographical essays (selected)

 Anthes, Johann Adam — delineation of the Anthes family with reliable dates  Bell, Maurice Frederick — full details for last period of life  Belsheim, Ole G. — new details  Brownlie, John — new details  Brueckner, Herman — new details  Cabrera, Juan Bautista — complete biographical information  Chorvát, Juraj — complete biographical information  Crull, August — new details  Daisley, Geoffrey W. — complete biographical information  Dale, Charles J. — complete biographical information  De Cheney, Charitie L. — complete biographical information  Døving, Carl — new details  Febres Cordero, Miguel — complete biographical information  Filitz, Friedrich — new details  Gauntlett, Henry J. — new details  Glaser, Samuel Frederick — complete biographical information  Good, Jeremiah Haak — complete biographical information  Grabner, Hermann — complete biographical information  Grant, Robert — precise birth date  Haughwout, Lefferd M. A. — complete biographical information  Hearn, Naida — new details  Hopper, Edward — reliable birth date  Horstmann, Julius Henry — complete biographical information  Kirkpatrick, William J. — precise birth and death details  Kretzmann, Paul E. — new details  Krotel, Gottlob Frederick — complete biographical information  Kvamme, Kristen — new details  Laurenti, Laurentius — complete biographical information  LeCroy, Anne K. — new details  Lemke, August — new details  Malaval, Léon-Joseph — complete biographical information  Maude, Mary Fawler — new details  McDougall, Alan G. — complete biographical information  Murray, James R. — precise birth date  Pick, Bernhard — complete biographical information  Pietsch, Frieda — complete biographical information  Písek, Vincent — new details  Redner, Lewis H. — precise birth date  Rimbach, J. Adam — complete biographical information  Rosenmüller, Johann — summary of his hymn works  Sáez Montalvo, Juan — complete biographical information  Severn, Charles — complete biographical information  Sloan, John M. — precise death date

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 Smeby, Oluf H. — new details  Spaeth, Harriet R. K. — precise death date  Strømme, Peer Olsen — new details  Thring, Godfrey — new details  Thrupp, Adelaide — new details  Troutbeck, John — new details  Underwood, Laura M. — complete biographical information  Warner, Anna B. — reliable birth year  Whiting, William — new details  Work, Frederick Jerome — reliable birth year  Yeomans, Edward Dorr — complete biographical information

Significant additions and corrections since publication

 For me to live is Jesus (LSB 742) — the author may be Melchior Vulpius, the composer of the tune  From depths of woe I cry to Thee (LSB 607) — a fifth source from 1524 is added to the four given  From God can nothing move me (LSB 713) — the hymn was written upon the author’s appointment as vice rector of the university, not during a plague  Let our gladness banish sadness (LSB 371) — stanza 3 is from the 1674 edition of the source, not the 1696 edition; a model for the tune is “Seid fröhlich und jubiliert” by (1607)  Lord Jesus Christ, life-giving bread (LSB 625) — both 1524 editions of the source contain the tune; the nineteenth-century facsimile is of the duodecimo edition, not the octavo edition  Your heart, O God, is grieved (LSB 945) —the tune is, as surmised, in the 1636 edition of the source hymnalcompanion.com [email protected] [email protected]

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